On the heels of “120 beats per minute,” a unanimous hit last year in Cannes, is Christophe Honoré’s “Plaire, aimer et courir vite,” a film that's in the running for a Palme D’Or. Like “120,” “Plaire” is set in the nineties and conjures up memories of a catastrophic decade for the gay community, one in which the gay community was decimated by the AIDS virus. In “Plaire,” which the Bretagne-born Honoré wrote and directed, an ironic

In the Directors Fortnight section ("Quinzaine des Réalisateurs"), a thriving alternative to the official selection that is celebrating fifty this year, a war/revenge movie by French filmmaker Guillaume Nicloux, who previously brought “Valley of Love” to the Cannes Festival in 2015. The First Indochina War took place in the fifties. Indochina was a French colony, then, that comprised parts of Vietnam

In Moscow there’s a wall, considered one of the city’s landmarks, that's covered with drawings, tags and writings, all tributes to Russian rock star Viktor Tsoy and his band, named Kino. Tsoy (here played by a German actor named Teo Yoo who so closely resembles the real-life Tsoy that it is uncanny), created Kino together with Mike Naumenko, another figure of Moscow’s rock underground, and gave concerts in a rock club, working with

Someone reading the description for “Yomeddine” and believing that A.B. Shawky is trying hard at tugging at the heart’s strings could be forgiven. There’s something vaguely manipulative about a road movie in which a leper and an orphan are paired together and travel across a part of Egypt together on a donkey-pulled carriage, the world oblivious to them. Doesn't this sound like the working script for a Save The Children ad? A leper goes to visit his family with a young orphan

In the Un Certain Regard category, which was created by honorary president Gilles Jacob to allow for some generational renewal in the festival’s programming grid, “Rafiki,” directed by newcomer filmmaker Wanuri Kahiu. The Nairobi-born director (b. 1980) had just one other feature-length film under her belt, “From a whisper,” before coming to Cannes, in the spirit of what was intended with this selection: brand-new, young

Who was this giant of cinema, this at once diffident and arrogant workhorse of a filmmaker, Fassbinder? He was self-destructive, gay, antigay, versatile (he learned just about every trade associated with the cinema), he was terribly vexing and charming, all at once. Trying to pigeonhole him is a fool’s errand (he covered his trail, eluded categorizing). He dominated the melodramatic genre, in all its shades, from the

HE'S BAAAACK! Lars Von Trier's "The House that Jack Built" will be shown at the Cannes Festival this year, helping to deliver a shot in the arm, a mixture of adrenaline and steroids, to the official selection. Seven years ago, Von Trier was ejected from the Cannes Festival after fumbling his way, with devil-may-care indecency, through a Q&A with the press following the screening of his film "Melancholia." I hadn't attended